“Autonomie Minérale” is the culmination of a triptych that emerged as an urgent need in barely three years. We’re not called Tachycardie for nothing. After “Probables” in 2019 and “Sommé-e” in 2020, previous intuitions here become intricate craftsmanship. The result of a blend and balance between the mechanical oscillation of a struck, hit stone, and the electronic oscillation of a handmade synthesizer. From then on, one cannot tell where synthesis begins and where sound naturalism ends. Tachycardie thus plays with this chaos where chance has its full place, that of the order of things, from the most common among them to the most beautiful. A stone fallen from the sky, in short. “Autonomie minérale” was built around a desire to bring percussion and electronic composition to the same level, in terms of timbre, sound definition, and playing modes. The idea of offering percussive pieces in which acoustic elements play a decorative role, while electronics become a rhythmic backbone, guided them towards new working methods, namely to research the smallest sound details of a single percussive element, a stone, or plants, and make them material for compositions based on the use of a single, unique synthesizer, custom-made by Frédéric Mancini (DEUX BOULES VANILLES).
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